Muso Jikiden Aishin-ryu

The founder of the Eishin-ryu early school is Hayazizaki Minamoto-no Shigenobu (1546-1621 ^[1] ). Hayazizaki was born in Osu, Deva Province (modern Yamagata Prefecture ) ^[3] . Many historical details of Hayazizaki's life are extremely suspicious. It is believed that he grew up during the time of the constant wars in Japan and for this reason began to study sword fencing techniques from an early age. According to legend, the reason for serious and rigorous training was the desire to avenge the death of his father ^[2] . For this, Hayazizaki retired to the temple, where for a long time he prayed and ultimately received divine inspiration, thanks to which he developed new sword fencing techniques and a one-way attack method. Legend has it that in the end he took revenge on his father’s killer.

After Hayazizaki continued his journey, studying with famous fencers and having his own students (for example, Tamiya Heibei, founder of Tamiya-ryu ) ^[2] . He called his own style Shinmei Muso-ryu ( 神明 夢想 流 ) . In general, Hayazizaki art has had many names since its inception. For example, it was referred to as Hayazidzaki-ryu ( п 崎 流 ) or Yusin-ryu ( 重 信 流 ) ^[2] . His style has greatly influenced the development of the main iai styles practiced today, such as Muso Jikiden Eishin-ryu and Muso Shinden-ryu .

The seventh head of the Hayazizaki school , Hasegawa Tikaranosuke Hidenobu (Aishin), is one of its most important representatives. He had a significant impact on the technical arsenal of the school. In particular, he adapted the methods originally developed for the tati to use modern katana ^[2] . In addition, he added many new techniques ^[4] , some of which formed the kata Tatehiza-no Bu . All this led to the fact that the style was renamed Hasegawa Aishin-ryu ^[4] . In addition, he was also referred to as Hasegawa-ryu or simply Aishin-ryu .

Some consider Hasegawa to be the main founder of the Eishin-ryu style, which makes him the first generation of soke rather than the seventh ^[5] , and the Shinmeyo Muso-ryu school is the progenitor of Muso Jikiden Eishin-ryu.

Hayashi Rokudayu Morimasa became the ninth head of the school. He introduced into the curriculum a set of methods practiced from a sitting position - seiza . Presumably, these methods were developed by kenjutsu teacher Hayashi, fencer of the Shinkage-ryu style, Omori Rokurodzaemon ^[4] , and are said to be influenced by the basics of etiquette from the Ogasawara-ryu school ^[6] . It was Hayashi who was responsible for representing the school in the principality of Tosa at the request of the ruling Yamauchi family ^[4] .

After the school took root in Tosa , it became known as Tosa Aishin-ryu ^[4] . Eishin-ryu and Omori-ryu styles were taught to members of the Yamauchi family with several features (for example, exaggerated leg movements, given the long hakama ) ^[7] .

After the death of the 11th Soke of Oguro Motozaemon, the school is divided into two branches. Later they became known as Tanimura-ha and Shimomura-ha (according to the names of the 15th and 14th heads of schools, Tanimura Kamenoujo Takakatsu and Shimomura Shimichi) ^[6] .

One of the most important soke of the Muso Jikiden Eishin-ryu school is the keeper of traditions in the 17th generation, Oe Masaji. He was born in Asahi Tosa in 1852. In his youth, Oe studied styles such as Kokuri-ryu and Oishi Shinkage-ryu ( Jap. 大石 神 影 流 ) , along with Shimomura-ha Eishin-ryu (Muso Shinden Eishin-ryu ( Jap. 無雙 神 傳 英 信 流 ) ) ^{[ 4]} . At the age of 15, he took part in the battle of Toba - Fushimi , after which he trained Tanimura-ha Aishin-ryu under the guidance of the master Goto Magobei ^[4] . Oe Masamichi also studied Eishin-ryu Bojutsu under the guidance of master Itagaki Taisuke. He inherited leadership in Tanimura-ha, becoming her 17th Soke ^{[4] [6]} . Oe Masamichi combined the directions of Tanimura-ha and Shimomura-ha, updating educational and technical programs ^[4] . By the time of the school’s global reform, almost 160 technicians had accumulated ^[8] and reorganized them into Saiza (Shoden), Tatihiza ( Tyuden ), Okuyai (Okuden) and Kumitati waza , practiced today ^[9] . Despite the fact that he retained the original techniques, the names of some of them were changed in order to help with their understanding ^[4] . Oe Masamichi renamed the reorganized school of Muso Jikiden Eishin-ryu ^[4] in the Taisho era (1912 - 1926) ^[10] .

In 1900, Oe began teaching Kendo and Aishin-ryu in Koti Prefecture in Dai Nippon Butokukai and in various local schools ^[4] . In 1924, he became the second person to whom, after Nakayama Hakudo, was awarded the title of Hansi in Dai Nippon Butokukai ^[4] . Oe Masamichi died on April 18, 1927.

Officially, Oe Masamichi did not leave a direct heir to the school, and about 20 of his closest students continued to spread Muso Jikiden Eishin-ryu outside the principality of Tosa throughout Japan, establishing several independent branches of the school ( ha ). Through the efforts of Oe Masamichi, Iaido became an officially recognized art within the framework of traditional kobudo in 1932 after the death of the 17th patriarch ^[11] . 60 years after the death of Oe Masamichi, a memorial stone was erected in his honor on Mount Godaysan.

Eisin-ryu uses a non-selective transmission system ( 完全 相传 相传 ) , which allows anyone who owns a full transmission to issue licenses to any of their students ^[2] . Thus, it cannot be ruled out that there were a large number of unidentified dense holders of the menkyo kaiden , known in Aishin-ryu as Kongen no Maki ( 根 元 之 巻 ) ^[2] . Partly due to Oe Masamichi’s more open and comprehensive approach to teaching Aishin-ryu, many diverse and complex branches have been created, which are separate transmission lines.

Saito Line

1. Hayazizaki Dzinsuke Minamoto-no Shigenobu, founder;
2. Tamiya Heibei Sigemasa;
3. Nagano Muraku Nyudo Kinrosai;
4. Todo Gunbei Mitsushige;
5. Arikawa Seizaemon Munetsugu;
6. Banno Danemonnojo Nobusada;
7. Hasegawa Chikaranosuke Hidenobu (Aishin);
8. Arai Sayotetsu Kiyonobu;
9. Hayashi I’m talking about Morimas;
10. Hayashi Yasudayu Masutomo;
11. Oguro Motoemon Kiyokatsu;
12. Hayashi Masunojo Masanori;
13. Yoda Manzo Norikatsu;
14. Hayashi Yadu Masamoto;
15. Tanimura Kamenoujo Takakatsu;
16. Goto Magobei Masasuke (? - 1897) ^[12] ;
17. Oe Masaji (1852-1927) ^[4] , founder of Muso Jikiden Eishin-ryu;
    • Oe Masaji's students founded their own branches, see below;
18. Hokiyama Namio (1891-1935) ^[4]
19. Fukui Harumasa (1884-1971) ^[4] ;
20. Kono Hyakuren (1899-1974) ^[13] ;
21. Fukui Torao (1915-2000);
22. Ikeda Takashi (born 1932);
23. Fukui Masataro.

After the death of Kono Hyakuren, the Aishin-ryu bloodline again became a subject of controversy, as some representatives of the style claim to be its oldest representatives. Who is considered true soke depends on the organization. Some even believe that the Muso Jikiden Eishin-ryu style no longer has a legitimate chapter.

There are a number of transmission lines with direct links to Oe Masaji, but they do not encroach on the leadership and leadership positions of the Muso Jikiden Aishin-ryu school.

Oe Masaji's students

Oe Masamichi taught a large number of students, many of whom continued his work and spread the traditions of the school throughout Japan . Seventeen of Oe's most influential students, some of whom set up their own branches, are listed below ^{[4] [12]} . This list is not exhaustive. Some of the students listed below are holders of the menkyo kaiden , although the exact number of people who have obtained a license from Oe is unknown. Most of the currently active Muso Jikiden Eishin-ryu schools come from one or more of the following individuals.

• Masaoka Katsutane (1896-1973) ^[14] (Kazumi, Ikkan) ^[14] , 18th chapter, Masaoka-ha;
  • Narise Sakahiro (19th chapter);
  • Miura Takeeyuki Hidefusa (20th chapter);
  • Shimabukuro Masayuki Hidenobu (21st chapter);
  • Carl E. Long (22nd chapter);
• Nishikawa Baysui;
• Coda Morio;
• Matsuda Aime;
• Yamasaki Yasukichi;
• Nakanishi Iwaki;
• Taoka Dan;
• Hokiyama Namio (1891-1935) ^[4] , 18th chapter;
• Fukui Harumasa (1894-1971) ^[4] , 19th chapter;
• Suzuki Yoshishige (Suzue Yoshishige) ^[12] ;
• Mori Shigeki (1890-1988) ^[4] ;
• Yamamoto Takuji (1886-1977) ^[4] ;
• Takemura Shizuo;
• Yamamoto Harasuke (1892-1978) ^[4] ;
• Sakamoto Tosakai;
• Yamauchi Toyotake (1905-1946) ^[2] , 18th chapter, Yamauchi-ha;
  • Kono Kanemitsu (19th chapter);
  • Onoe Masamitsu (20th chapter);
  • Sekiguchi Takaaki (Komei), chapter 21;
• Ueda Haytaro.

Muso Jikiden Eishin-ryu contains 45 single and 45 pair waza.

Single techniques

When performing a single waza, a long sword ( katana ) is used.

Seiza no Boo (shoden)

The word shoden means "initial transmission." This set of techniques comes from the Omori-ryu school , and is often called that. This is the starting set of techniques taught at Muso Jikiden Eishin-ryu. All exercises are performed from seiza position (sitting).

Seiza no boo ( 正 座 之 部 ) includes the following techniques ^[15] :

1. Mae ( Japanese 前 ) ;
2. Migi ( Japanese 右 ) ;
3. Hidari ( Japanese. ) ;
4. Usiro ( Japanese 後 ) ;
5. Yaegaki ( Japanese 八 重 垣 ) ;
6. Ukenagashi ( Japanese 受 流 ) ;
7. Kaisyaku ( Japanese 介 錯 ) ;
8. Tsukekomi ( Japanese 附 込 ) ;
9. Tsukikage ( Japanese 月 影 ) ;
10. Oikadze ( Japanese 追風 ) ;
11. Nukuchi ( Japanese 抜 抜 ) .

Tatehidza no Boo (Tuden)

The word tuden means "medium transmission." This set of techniques was created by Hasegawa Aishin, founder of the Hasegawa school of Eishin -ryu , and is still often referred to as Eishin-ryu . Tatehidza no boo is the second set of techniques taught at the Muso Jikiden Eishin-ryu school. All exercises are performed from tatehidza (semi-sitting position), with the exception of makko .

Tatehidza no boo ( 立 膝 之 部 ) includes the following techniques ^[15] :

1. Yokogumo ( Japanese 横 雲 ) ;
2. Tora no Issoku ( Jap. 虎 一 足 ) ;
3. inazuma ( Japanese 稲 稲 ) ;
4. Ukigumo ( Japanese. ) ;
5. Irrigate ( Japanese 颪 ) ;
6. Ivanami ( Japanese 岩 岩 ) ;
7. Urokogaesi ( Japanese 鱗 返 ) ;
8. Namigaesi ( Japanese 波 返 ) ;
9. Takiotoshi ( Japanese 瀧 落 ) ;
10. Makko ( Japanese. 向 ) .

Okuyai Iwaza no Boo (okuden)

The word okuden means "internal" or "secret transmission." This section explores an advanced set of techniques at a more advanced level. Exercises are performed from tatehidza .

Okuyai Iwaza no bu ( Japanese 奥 居 合 居 業 之 部 ) includes the following techniques ^[15] :

1. Kasumi ( Japanese 霞 ) ;
2. Sunegakoi ( Japanese 脛 囲 Sunegakoi ) ;
3. Tozume ( Japanese 戸 詰 ) ;
4. Tovaki ( Japanese 戸 脇 ) ;
5. Shihogiri ( Japanese 四方 切 ) ;
6. Tanasita ( Japanese 棚 下 ) ;
7. Ryozume ( Japanese 両 詰 ) ;
8. Torabashiri ( Japanese 虎 走 ) .

Okuyai Tativadza no Boo (okuden)

Okuyai Tativadza is performed from a standing position, with the exception of three Itamago waza , which begin with seiza .

Okuyai Tativadza no boo ( 奥 居 合 立業 之 部 ) includes the following techniques ^[15] :

1. Yukizure ( Japanese 行 連 ) ;
2. Tsuredati ( Japanese 連 達 ) ;
3. So Makuri ( Japanese 惣 捲 ) ;
4. So Dome ( Japanese 惣 留 ) ;
5. Shinobu ( Japanese 信 夫 ) ;
6. Yukitigai ( Japanese 行 違 ) ;
7. Sode Surigaesi ( Japanese 袖 摺返 ) ;
8. Moniri ( Japanese 門 入 ) ;
9. Kabezoe ( Japanese 壁 添 ) ;
10. Ukenagashi ( Japanese 受 流 ) ;
11. Itomagoyi Sono Iti ( 暇 乞 其 の 一 ) ;
12. Itomagoyi Sono Ni ( 暇 乞 其 の 二 ) ;
13. Itomagoi Sono-san ( Japanese 暇 乞 其 の 三 ) .

Bangai no Boo (okuden)

Bangai ( 番外 ) means “advanced” and implies an expanded set of tativaza . They are not koryu ^[16] , but were created by master Oe Masamichi ^[15] along with the Katate Hayanuki exercise ^[16] .

Bangai no bu ( Japanese 番外 之 部 ) includes the following techniques performed from a standing position ^[15] :

1. Hayanami ( Japanese 速 波 ) ;
2. Ryden ( Japanese 雷電 ) ;
3. Dzinrai ( 迅雷 ) .

Komei-Juku (Yamauchi-ha) practices the following set of five Bangai kata in addition to the above three:

1. Mahe;
2. Aranami;
3. Kesaguruma;
4. Takiguruma;
5. Tatsumaki.

Paired Techniques

The twin kata of Muso Jikiden Eishin-ryu are called kumitati ( 組 太 刀 ) . Some of them practice with both odati and kodati .

Tati Uti no Kurai

This kata was developed by Oe Masaji and includes the following techniques ^[17] :

1. Dai ( Japanese 出 合 ) ;
2. Cobusitori ( Japanese 拳 取 ) ;
3. Zetsumeken ( Japanese 絶妙 剣 ) ;
4. Dokumeken ( Japanese 独 妙 剣 ) ;
5. Tsubadome ( Japanese 鍔 留 ) ;
6. Ukenagashi ( Japanese 請 流 ) ;
7. Mappo ( 真 方 ) .

Tsume Ai no Kurai

Tsume Ai no Kurai ( 詰 合 之 位 ) is the second kumitati kata of the Eishin-ryu school. Both trainees use a long sword. The set includes the following techniques made of tatehidze and standing position ^[12] :

1. Hasso ( Japanese 発 早 ) ;
2. Cobusitori ( Japanese 拳 取 ) ;
3. Namigaesi ( Japanese 波 返 ) ;
4. Yaegaki ( Japanese 八 重 垣 ) ;
5. Urokogaesi ( Japanese 鱗 返 ) ;
6. Kurai Yurumi ( Japanese 位 弛 ) ;
7. Tsubame Gaesi ( Japanese 燕 返 ) ;
8. Ganseki Otoshi ( Japanese 眼 関 落 ) ;
9. Suigetsuto ( Japanese 水月 刀 ) ;
10. Kasumi Ken ( Japanese 霞 剣 ) .

The following sets of techniques (Daisyo Zume, Daisyo Tati Zume and Daikendori) are very rare, however they are still practiced by some dojos .

Daiso Zume

Daisyo Zume ( Jap. 大小 詰 ) is the third set of kumitati . Sidati uses odati , utidati - kodati . This section includes the following techniques performed from tatehidz and seiza ^[12] :

1. Dakizume ( Japanese 抱 詰 ) ;
2. Coppo ( Japanese 骨 防 ) ;
3. Tsukademe ( Japanese 柄 留 ) ;
4. Kotedome ( Japanese: 小 手 留 ) ;
5. Munatori ( Jap. 捕 捕 ) ;
6. Migifuse ( Japanese 右 伏 ) ;
7. Hidarifuse ( Japanese 左 伏 ) ;
8. Yamagatazume ( Japanese 山形 詰 ) .

Daisho Tati Zume

Daisyo Tati Zume ( Jap. 大小 立 詰 ) is the fourth set of kumitati . Sidati uses odati , utidati - kodati . This section includes the following techniques performed from a standing position ^[12] :

1. Shimetori ( Japanese 〆 捕 ) ;
2. Sode Surigaesi ( Japanese 袖 摺返 ) ;
3. Tsuba Utikaesi ( Japanese 鍔 打 返 ) ;
4. Koppogaesi ( Japanese 骨 防 返 ) ;
5. Tonbogaesi ( Japanese 蜻蛉 返 ) ;
6. Rankoku ( Japanese. 乱 ) ;
7. Utsuri ( Japanese 移 り ) .

Daykendori

Daykendori ( Jap. 大 検 取 ) is the fifth set of kumitati .

1. Muken ( Japanese 無 剣 ) ;
2. Suiseki ( Japanese 水 石 ) ;
3. Gaiseki ( Japanese 外 石 ) ;
4. Tesseki ( Japanese 鉄 石 ) ;
5. Eigan ( Japanese 榮 眼 ) ;
6. Eigetsu ( Japanese 榮 月 ) ;
7. Yamakaze ( Japanese 山風 ) ;
8. Sorihashi ( Japanese 橇 橋 ) ;
9. Ryden ( Japanese 雷電 ) ;
10. Suigetsu ( Japanese. ) .

Kono Hyakuren Techniques

Kono Hyakuren, the 20th soke of Muso Jikiden Eishin-ryu, added two sets of additional waza to the school’s technical arsenal, referred to as Dai Nippon Batto Ho ( Jap. 大 日本 抜 刀法 ) ^[16] . Batto Ho is based on techniques from the entire school curriculum, but their implementation always starts from a standing position. Dai Nippon Batto Ho is not considered koryu since techniques were added in the 20th century .

Eishin-ryu branches that are not affiliated with Kono Hyakuren generally do not practice these techniques. Thus, Waza Dai Nippon Batto Ho is included in only some transmission lines.

Dai Nippon Batto Ho, Kihon

1. Juno Sono Iti ( 順 刀 其 の 一 ) ;
2. Juno Sono Ni ( я 刀 其 の 二 ) ;
3. Zuigekito ( Japanese 追 撃 刀 ) ;
4. Sjato ( Japanese 斜 刀 ) ;
5. Sikhoto Sono Iti ( 四方 刀 其 の 一 ) ;
6. Sikhoto Sono Ni ( 四方 刀 其 の 二 ) ;
7. Zantzuto ( Japanese 斬 突 刀 ) .

Dai Nippon Batto Ho, oku

1. Zenteki Gyakuto ( 前敵 逆 刀 ) ;
2. Tatekito ( Japanese 多 敵 刀 ) ;
3. Koteki Gyakuto ( Japanese 後 敵 逆 刀 ) ;
4. Koteki Nukiuchi ( Japanese 後 敵 抜 打 ) .

• Тидокан Додзё (англ.)
• Немецкая ассоциация Мусо Дзикидэн Энсин-рю (нем.)
• Дзикисин Кай Сан-Диего (англ.)